Anyone who spends time reading the Psalms will notice the common refrain to sing a new song to the Lord. There are six occurrences of this exhortation in six individual psalms. In all but one case (psalm 144) it either opens the psalm or is a central part of the psalm’s opening. All six occurrences are reproduced, from the ESV, below:
Psalm 33:1-3
Shout for joy in the Lord, O you righteous!
Praise befits the upright.
Give thanks to the Lord with the lyre;
make melody to him with the harp of ten strings!
Sing to him a new song;
play skillfully on the strings, with loud shouts.
Psalm 40:1-3
I waited patiently for the Lord;
he inclined to me and heard my cry.
He drew me up from the pit of destruction,
out of the miry bog,
and set my feet upon a rock,
making my steps secure.
He put a new song in my mouth,
a song of praise to our God.
Many will see and fear,
and put their trust in the Lord.
Psalm 96:1-3
Oh sing to the Lord a new song;
sing to the Lord, all the earth!
Sing to the Lord, bless his name;
tell of his salvation from day to day.
Declare his glory among the nations,
his marvelous works among all the peoples!
Psalm 98:1-2
Oh sing to the Lord a new song,
for he has done marvelous things!
His right hand and his holy arm
have worked salvation for him.
The Lord has made known his salvation;
he has revealed his righteousness in the sight of the nations.
Psalm 144:9-10
I will sing a new song to you, O God;
upon a ten-stringed harp I will play to you,
who gives victory to kings,
who rescues David his servant from the cruel sword.
Psalm 149:1-3
Praise the Lord!
Sing to the Lord a new song,
his praise in the assembly of the godly!
Let Israel be glad in his Maker;
let the children of Zion rejoice in their King!
Let them praise his name with dancing,
making melody to him with tambourine and lyre!
Psalm 33 is often classified as a hymn. It is a straightforward call to praise Yahweh for both who he is and what he has done. It is, in Brueggemann’s terms, very much a psalm of orientation-the psalmist is in a place of equilibrium where all is well in the life of the psalmist and in their relationship with God. Psalm 40 is a more complex psalm. The opening reflects on an occasion when the psalmist found a new place of orientation from a place of disorientation (the miry bog). So already from these two uses of ‘new songs’ we see that it is appropriate in the context of the steady life of faith or in moments of more extreme experience where life has been transformed.
Psalm 96, like psalm 33, is a hymn, a call to celebrate Yahweh’s person and deeds from a place of communal certainty in the truths being proclaimed. Similarly, psalm 98 is also a hymn focusing on Yahweh’s salvation of Israel and his future righteous judgement of the world. Psalm 144 and 149 are also both hymns, although the former is perhaps not fully a song of orientation as it seems to look forward to singing a new song at a later date, rather than actually doing so (see verse 11).
Many readers, singers and scholars of the Psalms will simply see these references to new songs as a poetic way for the author to refer to his action in writing a psalm. The reason behind the need for a new song has variously been connected with a festival or military victory. Psalms 144 and 149 especially seem to have something of this militaristic feel about them. Either or both of these occasional needs might well be the inspiration for a new song. However, I want to suggest we might be missing the point if we assume that a new song is primarily a matter of novelty within the psalm itself. Many of us live in a culture where new songs appear weekly and even in popular Western Christian culture there is an industry of musical innovation. Perhaps some of those in this industry might even claim a biblical mandate of promoting new songs! I want to suggest that this is not what singing a new song is about. Rather singing a new song is more about the act of being in a new place before God. Whether it is about military victory for a king or the nation, an individual’s recovery from illness (the miry bog?) or recognition of God doing some other new work, this is the focus not the novel words of praise and song that follow.
How do I come to this view? The first piece of information supporting this view is something peculiar about psalm 96. After reading its threefold exhortation to sing a new song to Yahweh, the reader (or perhaps more aptly, the singer) expects something fresh and innovative. What else might a new song be? Psalm 96 is remarkable for the way in which it is anything but a new song. It is a hodgepodge of verses and ideas from other psalms. As Robert Alter puts it:
‘In point of fact, it is a weaving together of phrases and whole lines that appear elsewhere.’
This lack of originality or innovation is not a failure, rather it is precisely the point of a new song – it is newly composed, but informed by what has been there all along.
This alone is rather minimal evidence. In addition to this reuse or recycling (or in more scholarly terms, Midrash), the Psalter contains some other examples of psalm reuse. The two most obvious and extensive cases are:
1. Psalms 14 and 53 are almost identical to each other.
2. Psalm 108 combines large parts of psalms 57 and 60 (verses 2-6 strongly parallel 57:8-12 and verses 7-14 are virtually identical to 60:6-14).
These canonised examples of reuse encourage us to do the same. On the basis of Psalm 96 being anything but a new song in terms of originality and the two examples above, I suggest that the Psalter encourages us to sing and pray new songs; songs and prayers reflecting newness before God, whose words are informed by the Psalms themselves. I am not suggesting that all songs and prayers will simply be a mishmash of psalm verses. Rather I am hoping that we can see that the canon itself demonstrates that the Psalter is a vocabulary and resource for our prayers and worship, not a rigid ruleset. In this way the Psalter is instructional as psalm 1 indicates. Importantly this vocabulary goes beyond just the words to the experiences of the life of faith that underpin them. We are not meant to construct new songs which are just a one-dimensional pastiche of the bits of the Psalter we like. Let’s sing new songs which reflect the movements of the life of faith as we experience all of its offerings of orientation, disorientation and reorientation.
Robert Alter (2007), The Book of Psalms: A Translation with Commentary, New York: W. W. Norton.
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